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Plays for Children by 
S. Lyle Cummins 
volume II 


ST. GEORGE AND THE DRAGON 
THE SLEEPING BEAUTY 





PLAYS FOR CHILDREN 


By S. LYLE CUMMINS 

With coloured Frontispieces and other Illustrations by 
G. L. Stampa 


Volume I BLUEBEARD 

HAROUN EL RASHID 

Volume II st. george and the dragon 

THE SLEEPING BEAUTY 

Volume III GOLDILOCKS AND THE THREE 
BEARS 

TORQUIL MAC FERRON 
THOMAS OLIFANT 
TYRANNY 


New York: GEORGE H. DORAN COMPANY 













































































































“pray step into the larder and 

TRY" TO KEEP FRESH” 
















ST. GEORGE AND 
THE DRAGON 


THE 

SLEEPING BEAUTY 

BY 

S. LYLE CUMMINS 


Illustrated by 
G. L. STAMPA 


NEW 'HF YORK 
GEORGE H. DORAN COMPANY 



■ A &C g 3T 


COPYRIGHT, 1923, 

BY GEORGE H. DORAN COMPANY 




PLAYS FOR CHILDREN. VOLUME II 
PRINTED IN THE UNITED STATES OF AMERICA 


SEP 28 73 



FOREWORD 


History has been kind to Saint George. 
His victory over the Dragon has been illus¬ 
trated again and again. One has only to 
look at a pound note to see how good-looking 
he was and how easily he polished off his 
foe. And, after all, he is our Patron Saint. 

But what of the Dragon? What if he 
had won'? Might he not, then, have occu¬ 
pied the same highly respectable position 
that we have given to Saint George? Those 
who feel that the Princess Belinda was, per¬ 
haps, a little too ready to meet the Dragon 
on terms of social equality must remember 
that their interview took place before the 
battle, at a time when it was impossible to 
be certain which would win. 

Her whole-hearted support of the Saint, 
once the issue became clear, will be readily 
understood. 







HOW TO PRODUCE CHILDREN’S 
PLAYS 


To get the best fun out of these Children’s 
Plays, they must be staged by the players 
themselves according to their own ideas and 
with such properties as are available or can 
be improvised at home. An important point 
is that the longest and hardest part is prefer¬ 
ably taken by a “grown-up” upon whose 
strength the younger actors can lean for sup¬ 
port. The other parts are some long and 
some short to suit all ages, and the fact that 
the plays are in rhyme makes it quite easy 
for children to learn their parts. Masks may 
be made from wire netting bent into the ap¬ 
propriate shape, over which brown paper is 
pasted to make a surface. On this surface, 
when dry, eyes, nostrils or ears can be fixed 
or painted, and through it, eye-holes can be 
pierced to ensure visibility to the actor. By 
vii 


How to Produce Children’s Plays 

working up paper with paste, a pulpy ma¬ 
terial can be made from which eye-brows, 
beaks or fangs can be moulded and stuck on 
to embellish the mask. Body coverings can 
be made of sacking with paper scales, feath¬ 
ers or fur as required. Armour is best fash¬ 
ioned from stout cardboard covered with 
silver paper. Scimitars, broad swords, 
daggers, and other weapons can be manu¬ 
factured from wood cut to the proper shape 
and covered with silver or gold paper, and 
wound round with coloured wools or silks 
to give the effect of jewelled hilts or sheaths. 
As for costumes, it may safely be left to the 
mothers and aunts of the performers to pro¬ 
duce all that is required from wardrobes, 
linen cupboards, trunks and other secret 
places where silks, satins, ribbons, laces and 
all kinds of finery lie safely folded, hidden 
away like beautiful moths or butterflies in 
their chrysalises awaiting the appointed 
hour. 


vm 


CONTENTS 


PAGE 

St. George and the Dragon . .15 

The Sleeping Beauty ... 53 


IX 





* 


\ 


% 






. 















ST. GEORGE AND THE 
DRAGON 


DRAMATIS PERSONAE 


THE KING. 

pomposo, The Chancellor . 

BUTCHER. 

BAKER. 

BLACKSMITH. 

CROWD. 

SAINT GEORGE. 

THE DRAGON. 

PRINCESS BELINDA. 
butcher’s DAUGHTER. 
baker’s DAUGHTER. 
smith’s daughter. 


ST. GEORGE 
AND THE DRAGON 


Scene I. A Room in the Palace, king 
sitting at a desk , princess Belinda by 
window. 


KING 

My dearest Belinda, 

Pray look from the window 
And see what the tumult and noise is about. 
It is too provoking. I can’t stand their 
joking 

And croaking and smoking. It quite puts 
me out. 


BELINDA 

Yes, it’s really too bad, 

Poor darling old Dad! 

So busy composing your Speech from the 
Throne. 


15 


[scene I 


St. George 

I do wish these miners and sugar refiners 
And railway designers would let you alone. 
[Looks out ] What a crowd in the 
square. . . . 

And Pomposo is there! 

He’s making a speech and they’re throwing 
things at him. 

He’s pouting, they’re shouting, 

The gendarmes they’re flouting, 

The cavalry routing! 

He’s coming here! Drat him. 

Enter pomposo, who kneels to the king 

pomposo 

Your Highness. 

KING 

[Irritably] 

Confound you! 

POMPOSO 

The strikers surround you! 

They swear that the Palace they’ll burn to 
the ground. 


16 


scene i] and the Dragon 

The windows they’re breaking, 

The portals they’re shaking! 

Policemen are quaking! The soldiers . . . 

KING 

Confound l 

Here’s my speech gone to frazzle. 

I might as well scrap it all. . . . 
And just as I’d come to the levy on capital. 
How can a poor monarch get on with his 
job? 


POMPOSO 

Your Highness, I hinted as much to the mob, 
But they hissed and they boo’d 
And they groaned and poo-poo’d 

And- 


BELINDA 

Did you enquire what they wanted? 

POMPOSO 


17 


Not I! 



[scene I 


St. George 

KING 

What they wanted , Belinda? 

POMPOSO 

One might as well try 
To find out what the crocodile wants when 
he follows you; 

Or why the shark smiles to himself as he 
swallows you. 

Your political sense, dearest Princess, I fear 
Is not highly developed. 

KING 

Belinda, ’tis clear 
That you don’t know this game. 

BELINDA 

I should ask all the same! 

[Shouts and yells outside 

:king 

[To pomposo, in an agitated voice ] 
Why perhaps ’twould be well. . . . 

What? . . . you never can tell . . .! 

18 


scene i] and the Dragon 

Just go out, good Pomposo, and see what 
they’re driving at; 

Just enquire from the leaders what is it 
they’re striving at; 

Just ask . . .! [Shouts outside] ascer¬ 
tain . . . 


POMPOSO 

Yes, your Highness [Shrinks 
behind throne] although . . . 

I have doubts [Yells outside] of the pru¬ 
dence, the wisdom . . . 

BELINDA 

77/go! [Exit 


POMPOSO 

[Shaking his head] 
No political sense. 


KING 

I’m in dreadful suspense. 

Supposing they beat her, or cheat her, or 
eat her? 


19 


St. George [scene i 

What on earth shall I do? Mercy on us. 
Boo-hoo! 

[Cheers of delight from outside 

POMPOSO 

Why, she’s had a success. 

KING 

[Cheering up] 

Then let’s just go to meet her. [ Rises 

Enter Belinda, followed by Crowd 

BELINDA 

Oh, Papa, your poor town is half dead with 
starvation, 

You must hear for yourself from this nice 
deputation. 

Enter Deputation 

POMPOSO 

What a moth-eaten crew! 

20 


SCENE i] 


and the Dragon 



“what a moth-eaten crew!” 


21 



X 


SCENE i] 


St. George 

KING 

What unclean ragamuffins. 

POMPOSO 

For your Highness ’t won’t do 
To converse with these ruffians . . . 

BELINDA 

Dear Papa, don’t decline; 

They are all friends of mine. 

From the butcher so nice 
To the man who breeds mice, 

And the sweet little boots at a penny a shine, 
And the girl who sells butter. 

KING 

Very well, let them utter. 

POMPOSO 

You’re spoiling your people. I think it a 
pity. 


BUTCHER 

Gracious Lord, for three days 
Through the closure of ways 

23 


St. George [scene i 

Neither cattle nor sheep have arrived at the 
city. 


BAKER 

Neither flour nor grain 
Admission can gain. 

BLACKSMITH 

Neither driver of cart, nor conductor of 
wagon 

Can pass on his way 
By night or by day 
Because of- 

BUTCHER 

[Anxiously\ 

The Dragon! 


BAKER 

[Nervously ] 
The Dragon! 

BLACKSMITH 

[In terror ] 


24 


The Dragon! 



scene i] and the Dragon 


BUTCHER 

All attempts to appease him 
Have quite failed to please him! 

BAKER 

He can’t do with less than one victim a week. 
He’s had Harry and Jimmy, 

Augustus and Timmy, 

BLACKSMITH 

Young Marjory Jones . . . and . . . 

BAKER 

Bartholomew Peek. 

BUTCHER 

In reply to our protests he openly states 
That no food whatever shall enter our gates 
For a year unless we 
Can all guarantee 

That at least one plump wight from our 
maidens and men 

Shall be served for his breakfast each Mon¬ 
day at ten. 


25 


[scene I 


St. George 

KING 

What on earth shall we do? 

POMPOSO 

He might have asked two. 

I think the proposal is quite within reason. 
Poor thing, he must live; 

It’s the least we can give, 

One plump boy or girl with some pepper to 
season! 


KING 

[To Crowd] 

My friends, let’s be mild 

With this vertebrate wild; 

His hunger is quite as acute as our own. 

How can we deny the poor beast flesh and 
bone? 

Let all parents draw lots who shall furnish 
the child. 

Meanwhile, whether working in bread shop 
or pottery, 

Let us get all the fun that we can from the 
lotter y- [ Cheers . Curtain 


26 


Scene II. Outside the Town-hall, king, 
pomposo, Belinda and Crowd. 

POMPOSO 

[Drawing names in the lottery ] 

It’s getting exciting and almost affrighting, 

There’s only four tickets now left in the 
hat. 

[Draws a ticket and reads ] Timothous, the 
Baker, 

[baker and daughter dance with relief 

Your daughter’s safe; take her. . . . 

[Aside] Not much of a loss for the Dragon, 
the brat. 

butcher’s daughter 

[Frightened] 

Now there only are three. Oh, perhaps 
’twill be me! 


27 


[scene II 


St. George 

POMPOSO 

[Drawing a ticket ] 

John Smith, to your Smithy; you're safe for 
a week. 

[The smith and his daughter 
dance together 

BUTCHER S DAUGHTER 

Oh, Daddy, what terror! 

BUTCHER 

There must be some error; 

They shan't have my daughter! 

BAKER 

What nonsense. 


BLACKSMITH 

What cheek! 


KING 

[Greatly delighted\ 
Only two tickets more. 

There’s surprises in store. 

Ten to one on the Butcher. 

28 


scene ii ] and the Dragon 


POMPOSO 

I’m taking you. 


Done. 


KING 


BAKER 

I can’t help but giggle. 


BLACKSMITH 

Just watch the child wriggle and miggle and 
swiggle. 


blacksmith’s daughter 
Oh, isn’t it fun! 


POMPOSO 

Just two more in the hat. [Puts in his hand 

BUTCHER 

You shan’t have her, that’s flat! 

KING 

We shall see, my good fellow. 

29 


St. George [scene ii 


POMPOSO 

[Draws and reads] 
Bill Butcher. 


BUTCHER 

We’re free! 

[butcher and daughter dance 
[All look at the king and Belinda 

POMPOSO 

Well, the odds were agen her! 

KING 

Why, there goes my tenner! 

There’s only one left. Who on earth can 
it be? 

[To the Crowd who are pressing in 
and struggling 
Now, steady! No fighting! 

BUTCHER 


This is most exciting; 
Go on, draw the ticket- 

30 



scene ii] and the Dragon 



pomposo (reads) “the king!” 

31 






















scene n] St. George 

BAKER 

Form round in a ring! 

[pomposo takes out the ticket and 
unfolds it 

KING 

Who can be left over*? 

Some shepherd or drover, 

Some varlet or rover or Tover - 

POMPOSO 

[Reads] 

The King! 

KING 

[Nettled] 

My friend, you are joking! 

The fun that you’re poking 
Is not in good taste. You surprise me! 
Go to! 

It isn’t quite loyal; 

You forget that I’m royal. . . . 

Pomposo, we didn’t expect it of you . 

33 


[scene II 


St. George 

POMPOSO 

But what can I say? 

You arranged it that way. 
Every parent , you said. 

BUTCHER 

Yes, we heard him . . . 

BAKER 

That’s so. 


BLACKSMITH 

Well, you should . . . 

BUTCHER 

Yes, you oughter . . . 

BAKER 

Hand over your daughter! 

CROWD 

Belinda! Belinda! Belinda! must go . . . 


BELINDA 

Why, of course, Father dear; 

34 


scene ii] and the Dragon 
I must go, it is clear 

The city wants food and you’ve given your 
word. 


POMPOSO 

This greatly distresses. 

KING 

But surely Princesses 

Were never included; the notion’s absurd! 


BUTCHER 

Play the game! Play the game! 

BLACKSMITH 

Has he no sense of shame? 


BAKER 

For a person so high his behaviour is low. 

BUTCHER 

Fetch faggots and tinder 
We’ll burn his Belinda! 


CROWD 

Belinda! Belinda! Belinda! must go. 

35 


St. George [scene ii 


BELINDA 

Dearest Father, I’m willing. 

In fact it’s quite thrilling; 

I’ll rather enjoy getting off for the day. 

To the creature alarming 
I’ll make myself charming, 

I doubt if the Dragon’s as bad as they say. 
I shall come to no harm . . . 

KING 

Well, do wrap up warm. 

POMPOSO 

And take your hot bottle; ’tis chilly, you 
know. 


BUTCHER 

From a crown to a cinder 

CROWD 

Hurrah for Belinda! 

Belinda , Belinda . . . 

BELINDA 

Belinda will go! 

[Curtain 


36 


Scene III. dragon’s Lair, dragon dis¬ 
covered in deep gloom. 

DRAGON 

Lonely, misunderstood, 

In this desolate wood 

I pass an existence profoundly depressing; 
Hated, cut, ostracised, 

Feared, detested, despised 
Because of a faint human note in my mess- 
ing! 

Although I enjoy grilled maiden or boy 
And greatly prefer curried lady to lentil, 

I think all the same 
I fairly may claim 

To be in essentials both simple and gentle. 
My manners are chaste, 

I’ve excellent taste, 

I quote by the hour both from Shakespeare 
and Shelley! 

For literature light 
I read with delight 


37 


St. George [scene hi 

The “Sorrows of Satan” by Marie Corelli. 
Oh, why should my “gout” 

For little-girl-stew 

Excite the contempt of my critics censorious, 
While they openly boast 
Of kidney on toast 

And admit they consider roast lamb simply 
glorious! 

Well, well, let them rant! 

I’ll laugh at their cant 
And pledge them in highly spiced blood from 
my flagon; 

Be true to my whim 
For carcase and limb 

And live the free life of a thorough-paced 
Dragon! 

[Rises and peers across the landscape 
But surely ’tis time that supplies should 
arrive? 

Let me see [ Consults the calendar and 
looks at his watch 
It is Monday and nine-forty-five. 

Those knaves must be prompter in sending 
their sample; 


38 


scene hi] and the Dragon 



“for literature light’' 










































0 


scene in] St. George 

I fear they’ll oblige me to make an 
example. 

Enter Belinda 

BELINDA 

Good morning! 


DRAGON 

Aha! A fine bird in the 

mesh! 

Pray step into the larder and try to keep 
fresh. 


BELINDA 

How successful you’ve been in selecting your 
lair! 

It is perfectly sweet! Such a view and such 
air! 

And the larder! A treasure. A miniature 
Heaven! 


dragon 

Pray step in. Glad you like it. I lunch at 
eleven. 


41 


St. George [scene hi 


BELINDA 

I’m so pleased. To wait longer I’d scarce 
have been able! 

Will you let me assist you in laying the 
table? 

Let me see. Here’s the cupboard! What, 
only one plate? 

I shall make one of paper for you . ’Twill 
be great! 


DRAGON 

Never mind. I can manage without your 
assistance, 

Except in the role of piece de resistance . 

In your walk from the town you have done 
quite enough, 

So be good and sit still or you’ll only get 
tough! 


BELINDA 

Dearest Drag., you’re a wag! Why you 
never would eat me; 

There are people who’ve travelled from 
Europe to meet me. 

42 


scene in] and the Dragon 

I’m a Certified Driver, a trained V.A.D., 

I can jazz, I can sing, I’ve a Science Degree! 
In fact, I feel sure as Companion I’d do 
For a really intelligent Dragon like you! 


DRAGON 

[Shutting his ears] 

How you talk. By such tattle you bring 
your own fate on! 


BELINDA 

Now be good and I’ll read you the “Sorrows 
of Satan”! 


DRAGON 

And why not*? ’Twould be jolly to hear it 
again, 

[Looks at watch\ But it’s hardly worth 
while, ’tis a quarter past ten! 

[Rises reluctantly and takes down 
cooking pot 

And I fear you can hardly read out while 
you stew! 


43 


St. George [scene hi 


BELINDA 

[Pointing left ] 

Why, here comes a Knight Errant; perhaps 
he’ll eat you. 

Enter saint george 

DRAGON 

Eat me. We shall see! 

SAINT GEORGE 

[Aside] 

It’s a Dragon! 

Dear me! 

Now what should a knight do in these cir¬ 
cumstances^ 

Why, he’s just like a Tank. I shall try his 
left flank . . . [Moves left 

BELINDA 

How splendid he looks as he boldly ad¬ 
vances ! 


44 


scene m] and the Dragon 


DRAGON 

This will help with the stew! 

What good luck to get two . . . 

[Picks up his club and looks round 
Now where's this mosquito. Let's hurry and 
swat him! 

One tap on the brisket 
Will crush him like biscuit. 

[Rushes on Saint George but trips 
over his own tail 

SAINT GEORGE 

He stumbles. I'll risk it. 

[Plunges lance sideways into dragon 

DRAGON 

[ Wildly\ 

He’s murdered me. 

SAINT GEORGE 

Got him . 


BELINDA 

Hurrah, I am free! 


45 


St. George [scene hi 


SAINT GEORGE 

Pray congratulate me. 

I hardly expected to kill him so neatly. 

BELINDA 

Pm very much struck 
By your skill and your pluck; 

You’ve captured the heart of Belinda com¬ 
pletely. 


SAINT GEORGE 

I’m delighted to find that I’ve made an im¬ 
pression 

And your heart shall be kept as a cherished 
possession. 

But a few little details I’m anxious to learn 

Before I decide to give mine in return. 

As a matter of form I’m obliged to enquire 

Your age, race, religion, the name of your 
sire, 

Your income and capital down to a penny, 

Your accomplishments, gifts and attain¬ 
ments ... if any! 

46 


scene m] and the Dragon 


<( 



you’ve captured the heart of 

BELINDA COMPLETELY” 


47 





















scene m] St. George 


BELINDA 

Gentle knight, your rare prudence I quite 
understand. 

I’m Belinda. My father is King of this land. 
I’m a Certified Driver, a trained V.A.D., 

I can sing, I can jazz, I’ve a Science Degree! 
In fact I feel sure as Companion I’d do 
For a really courageous Knight Errant like 
you. 


SAINT GEORGE 

Dearest Lady, enough. I am free to admit 
That in every respect you’re essentially “it.” 

Enter king and Crowd 

ALL 

He has slaughtered the Dragon 
That ravished and tore us! 

BUTCHER 

Come, dancers, 


BAKER 


Come, fiddlers, 


49 


St. George [scene hi 


ALL 

Come, strike up the chorus. 

POMPOSO 

Bring wine from the cellars. 

KING 

Come, fill me a flagon 

And drink to Belinda, Saint George . . . 


BELINDA 

And the Dragon. 


\Curtain 


50 


THE SLEEPING BEAUTY 


DRAMATIS PERSONAE 


THE BEAUTY 
Her OLD NURSE 
THE FAIRY PRINCE 
OWL 


FIELD MOUSE 


THE SLEEPING 
BEAUTY 


Scene: A Forest at morning . The owl is 
seen half asleep , amongst the leaves to 
right . 


Enter a field mouse 

MOUSE 

I’ve been here seven weeks 
That’s a very long time 
And I watch her each day 
As the branches I climb! 

She just lies there asleep! 

Without bite, without sup! 

How on earth does she live? 

Will she never wake up? 

OWL 

Little creature, the lady’s protracted repose 
Is a puzzle defying solution by those 

53 


The Sleeping Beauty 

Who, like you and the flowers, are but things 
of the Hours! 

It requires a long life and mature meditation 

To be able to furnish the true explanation. 

In a century passed, but I won’t mention 
which, 

This young lady’s great Aunt, who was also 
a witch, 

Settled down in the wild 

With the Nurse and the Child; 

And commenced, far removed from disturb¬ 
ing relations, 

To write her great book on Quadratic 
Equations. 


MOUSE 

What a word! 


OWL 

Yes, indeed! You are 
wise not to try it! 

But you’ll easily see that one needs perfect 
quiet 

To write books of that kind. 

54 


The Sleeping Beauty 



“will she 


NEVER WAKE UP*?” 


55 


The Sleeping Beauty 

Well I’m rather inclined 

To think the Witch showed a marked want 
of ability 

In bringing a child, when she yearned for 
tranquillity! 

I suggest that she partly deserved her sad 
fate— 

Which arrived pretty quickly—for early and 
late 

There was nothing but banging and whizz¬ 
ing and whirring, 

Loud crunchings of sweets and low pussycat 
purring, 

And the thousand strange noises that chil¬ 
dren delight in 

Till the wood was a place to go mad —not 
to write—in! 


MOUSE 

And what happened*? 

OWL 

Her plight 

Was impossible; quite! 

57 


The Sleeping Beauty 

She endured it five, seven, nine days . . . 
On the tenth, 

When absorbed in the value of N to the 
Nth, 

And just as she’d got it all clear in her 
brain 

A voice said, “Dear Aunt, will you please be 
a train?” 

The rejoinder was such as to make one’s 
flesh creep; 

Just simply three terrible words —“Go to 
. . . sleep!” 

And the poor child turned round without 
protest or wince; 

She went straight to her bed and has slept 
ever since. 

What is funnier still, so intense was the 
spell 

It affected Nurse, Cat and Canary as 
well, 

And in silence, at last, without bang, whizz 
or whirr, 

The witch finished her book—and the book 
finished her! 


58 


The Sleeping Beauty 


And the child? 

MOUSE 


OWL 


She remains, through her 
Aunt’s incantation, 

In a state of suspended, or fixed animation; 
And she always will sleep, as she’s slept ever 
since 

Until kissed on the nose by a young Fairy 
Prince. 


On the nose? 

MOUSE 


OWL 

Yes, the nose! 


MOUSE 

Goodness gracious, that’s queer. 

But . . . 

OWL 

Be silent! A footstep! 

59 


The Sleeping Beauty 

MOUSE 

Hush; some one draws near. 

[The mouse dives into the hedge 

Enter the fairy prince 

prince 

[Searching for a path ] 

Blocked again! Why this isn’t a pathway 
at all— 

Just a blind mass of bushes as thick as a 
wall— 

Well, I can’t go ahead and I will not turn 
back 

So here goes for a rest! I’ll sit down on the 
track. [Sits 

Oh, it’s fine to be free, with each reed, grass 
and tree, 

As a jolly companion to roister with me— 

With no smiles to suppress, and no yawning 
to smother 

As so often occurs with my Royal Queen 
Mother. 


60 


The Sleeping Beauty 

[field mouse peeps out of hedge , 
prince sees her . 

Mark! Field Mouse! [Throws a fir cone and 
misses ] 

High right! 

[field mouse flies] Never mind! Made it 
wriggle! . . . 

And then to escape from the titter and 
giggle, 

The blushing and gushing and winking and 
shynesses 

Of those very Serene and Transparent young 
Highnesses, 

My cousins, Erminda, Belinda and Pearl! 

Why it’s grand to look round without see¬ 
ing a girl! 


field mouse reappears 

mouse 

[Aside to owl] ’Tis the Prince. He must 
wake her. Til squeak till he follows 
me! 


61 


The Sleeping Beauty 

It’s worth any risk. I don’t care if he swal¬ 
lows me! 


PRINCE 

I’ll just settle down here and I’ll build me a 
house 

Made of branches and leaves [mouse 
sgueaks\ Stop! I must catch that 
mouse! 

[mouse disappears into the hedge. 
prince draws sword and hacks at 
the bushes which suddenly part 
and reveal . . . the sleeping 
beauty on her couch , the old 
nurse, the cat, the canary, etc. 

PRINCE 

Odds Bodkins! Where am I? What do I 
behold? 

A vision of beauty, with tresses of gold, 

Not a bit like Erminda, Belinda, or Pearl! 

I believe . . . No it can't . . . Yes it must 
... be ... a girl! 

62 


The Sleeping Beauty 



“odds bodkins! 
behold*?” 


WHERE AM I*? WHAT DO I 


63 










The Sleeping Beauty 

[Goes forward a little and looks at 
her seriously 

Well she is simply jolly! Fd like to go 
nearer . . . 

And perhaps even touch her . . . but some¬ 
how, I fear her! 

She’s so good! . . . Are they always like 
that when asleep? 

Shall I fly for my life ... or go forward 
and “peep”? 


MOUSE 

Ask the Owl. 


OWL 

As if any one cared what I 

say! 

My advice is “clear out”! but I know that 
you’ll stay. 


PRINCE 

Yes, I will! [Advancing a little\ What a 
hand! Why I can’t understand 
How prettier fingers could ever be planned! 

65 


The Sleeping Beauty 

She has corals for lips and her cheek is a 
rose 

And ... Ye Gods and small Fishes! . . . 
just look at her Nose! 

It’s so pink and so white and so batchelor’s 
buttony 

That I cannot resist it! It fills me with 
gluttony! 

The cheeky tip-tilted young lump of de¬ 
light ! 

The rogue! . . . I’ll just teach it! . . . 
Here goes for a bite! 

[Bends down and rises again laugh¬ 
ing 

But perhaps that might wake her, it’s safer 
to kiss! [Does so 

[The lady wakes, clock strikes, 
nurse stands up, cat mews, etc . 

Good Heavens! 


NURSE 

It’s time for your chocolate. Miss! 


[To prince] 


SLEEPING BEAUTY 

Who are you? 

66 


The Sleeping Beauty 

NURSE 

And it’s time to get . . . [Sees prince] 
Well I declare . . .! 

SLEEPING BEAUTY 

[Repeating] 

Who are you? And what chance brought 
you here? 


PRINCE 

Lady Fair, 

A Knight Errant by trade, and Prince 
Charming by name, 

In the search of adventure I happily came, 
In the hope that good fortune would throw 
in my way 

A Princess to save or a Dragon to slay, 

Till I found in the wild, far from pasture 
and tillage 
You asleep! 


NURSE 

How he boasts of a walk 
through the village! 

67 


The Sleeping Beauty 

PRINCE 

What village? 

NURSE 

The village. 

PRINCE 

There’s none. 


MOUSE 

It appears 

That there’s not been a village for years and 
for years. 

Ask the Owl! 


OWL 

What the Mouse says is per¬ 
fectly true! 

All the houses have crumbled and fallen, 
while you , 

Kept suspended in time, like a Mammoth in 
ice, 

Have not disintegrated! . . . and even look 
nice. 

68 


The Sleeping Beauty 

When this amorous Princeling at kissing did 
venture, he 

Disturbed a sound sleep that had lasted a 
century! 

I would add that a useful deduction from 
this is 

“Let your beak be securely protected from 
kisses. 5 ’ 


PRINCE 

Goodness gracious! 


NURSE 

Oh, Lor! 

SLEEPING BEAUTY 

For a cen¬ 
tury past 

For a hundred long years I have slept and 
at last, 

I awake to the light and the life and the 
gleam 

Of this merry old world . . . like the flower 
in my dream! 


69 


The Sleeping Beauty 

PRINCE 

Like the flower? You must tell me! 

SLEEPING BEAUTY 

Ah, times 

without number, 

As I wandered alone in the Garden of 
Slumber, 

Came the dream . . . that a little flower 
under the ground 

In the chill of the clay and in silence 
profound 

Pushed up, from its roots, through the black¬ 
ness of night, 

A little soft tendril in search of the 
light; 

But it met on its way, here a clod, there a 
stone, 

And I wept in the Garden of Slumber, 
alone, 

As I watched it, still striving in darkness and 
pain, 

And could see that its hopes and its efforts 
were vain, 


70 


The Sleeping Beauty 



S' 

owl: “this sweet union let nothing dissever” 

71 



















The Sleeping Beauty 

Till at last, the Sun burst through the silence 
and gloom, 

Kissed the tendril, and crowned it with 
springtime and bloom. 

PRINCE 

[Taking her hands] 

I’ve invented a game! Shall we play it? 

MOUSE 

What fun! 


SLEEPING BEAUTY 

Yes, of course! 


PRINCE 

Be the tendril and IT1 be the sun! 

Be the Queen of the morning and Fll be the 
King, 

And the Owl shall unite us with book and 
with ring! 


SLEEPING BEAUTY 

Well, I’m sure! What a funny proposal to 
make! 


73 


The Sleeping Beauty 

And it all is so sudden. I’m hardly awake! 

[Thinks for a moment 
I’m a hundred and twelve and you’re only 
fifteen 

You’re a great deal too young! 

NURSE 

Yes, that’s easily seen. 

PRINCE 

Time is only a word. Nothing matters but 
Life 

And we’re equal in that, so you must be my 
wife. 

Here’s the ring! 

[Puts a ring on her finger 

OWL 

This sweet union let nothing dissever. 

PRINCE 

[To sleeping beauty] I take you at once 
and I keep you for ever! 

74 


The Sleeping Beauty 



« 


YOU WERE 
A KISS” 


MARRIED THE MOMENT HE GAVE YOU 

75 










The Sleeping Beauty 

OWL 

[To sleeping beauty] Will you marry 
this Prince, honour, love and obey 4 ? 

SLEEPING BEAUTY 

Yes, I’ll honour and love him as long as I 
may. 

[To the prince] Are we married? 

PRINCE 

For ever, my Queen and Delight. 

SLEEPING BEAUTY 

[To the owl] Are we married 4 ? 

OWL 

Why, yes, I suppose it’s all right! 

SLEEPING BEAUTY 

[To the mouse] What think you 4 ? 

MOUSE 

I don’t 

think! But my feeling is this: 

77 


I486 267 


The Sleeping Beauty 

You were married the moment he gave you 
a kiss. [ Curtain 


78 














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